. . . a partnership that audibly works very well . . . There's tremendous maturity in terms of the sweep of the concerto's opening movement, albeit coupled with an infectious glee . . . A sense of exploration permeates all the performances here, too; the first-movement cadenza is particularly imaginative in that regard, while simultaneously sounding utterly natural . . . Pappano's experiences in the opera house feed into the mix, too, both dramatically and also in an almost vocal style of phrasing . . . [in the Intermezzo] Lisiecki is graceful without being contrived . . . Lisiecki's finale is also impressive, making enough of the rhythms without overemphasis (try from 6'05" to sample the litheness of the interplay between soloist and orchestra); Pappano and the soloist seem in complete musical accord . . . the "Allegro appassionato" section has a real sweep, the interplay between soloist and orchestra again unerring; it's hard to believe that Lisiecki doesn't have decades of experience behind him in this regard . . . A natural recording captures this imaginative spinner of musical tales to excellent effect. And the disc is rounded out with a touchingly confiding "Träumerei".

Record Review /
Harriet Smith,
Gramophone (London) / 01. January 2016

Lisiecki's account of these works, with their demanding variety of expression and intimate dialogue between soloist and orchestra, is extraordinarily mature and subtle for one so young. His playing is virtuosic, but also always undemonstrative and perfectly blended with the orchestra. Throughout Lisiecki is accompanied by the Orchestra dell'Accademia Nazionale di Santa Cecilia and Sir Antonio Pappano . . . their partnership is an extraordinarily successful one and their rapport evident.

Record Review /
Paul Drive,
Classic FM (London) / 18. January 2016

From the dramatic opening bars of Schumann's A minor concerto, the young Canadian pianist arrests the ear with the impetuosity of his attack . . . Lisiecki, encouraged by Pappano and his Roman orchestra, lurches turbulently between a driven ecstasy and a state of reverie. It's a surprising but fresh interpretation . . . Although unconventional, the pianist's thoughts about this music are audacious, and it's dazzlingly played.

Record Review /
Hugh Canning,
The Sunday Times (London) / 07. February 2016

. . . [this new recording of Schumann's Piano Concerto] immediately strikes the ears as something special -- special in its artless sensitivity as much as in its limpid warmth and its focused virility . . . it reveals all the like-minded shaping of phrases, communicative power and instant rapport between soloist and orchestra . . . the Introduction and Allegro appassionnto encapsulates all the winning interpretative qualities that radiate out in the other two works as well. First there is the beautifully subdued bloom of the orchestral playing and the rippling luminosity of the arpeggios in the piano part . . . the music flows seamlessly, its ebbs and flows judged to a nicety. Then in the Allegro, incisiveness in both the orchestral and the solo part is tempered by a genuine, thoroughly unmannered romantic impetus and by a spectrum of colour and a shading of dynamics that are not only apt but also arrestingly fresh-sounding. The inwardly searching atmosphere that Lisiecki brings to the start of the Introduction and Concert-Allegro is especially touching and is something that equally haunts the central movement of the concerto . . . this is a wonderful Schumann disc by a pianist of outstanding gifts.

. . . [Piano Concerto]: a very convincing performance, thoughtful and searching. Lisiecki's Schumann is so natural and unforced that his playing does not come between composer and listener . . . There are many attributes of this performance; excitement, communication, delicacy and tonal beauty. It is such a perfect blend and unanimity of soloist and orchestra that it sounds as if were executed by one mind. There is cross inspiration between piano and the solo instruments of the orchestra, particularly the creamy winds that, in spite of perfect ensemble, still sound spontaneous. The recording is a model of a naturally balanced soloist and these delectable orchestral textures. The two shorter and less familiar, later-concerted works -- "Introduction and Allegro appassionato Op.92", "Introduction and Concert Allegro Op.134" -- receive similarly attentive performances, making this release even more attractive. Time stands still during the little encore, "Träumerei", adding a thoughtful adieu on this attractive CD.

. . . [Lisiecki's account of the concerto takes advantage] of the music's intermittent licence to dream; his touch has a chaste beauty, with no hint of histrionics. Fine support from Antonio Pappano and his Accademia Nazionale di Santa Cecilia orchestra allows him to generate a sweet spell in the Intermezzo, and in the finale he finds a nice balance between intimate lyricism and bounding exuberance, asserting dominance as he romps playfully home . . . in his hands the rarely-performed "Introduction and Concert-Allegro", Op. 134 works brilliantly: spectral at first, finally with a tormented nobility. The encore -- from "Kinderszenen" -- is a gentle reminder of the artistry which first put Lisiecki in the limelight three years ago.

Lisiecki unfurls melodies that stretch their limbs with yearning over arpeggios rippling with crystal clarity. Pappano hustles the tempo along, getting spruce playing from his Orchestra dell'Accademia Nazionale di Santa Cecilia. Alongside, Schumann's other, less familiar works for piano and orchestra are a welcome bonus, singing with free-flowing, improvisatory flair.

. . . [Piano Concerto]: the 21-year-old Lisiecki captures all of its impetuosity, self-indulgence and dreaminess. With a sure sense of theatre, Pappano seeks out the drama . . . Lisiecki is not afraid to elongate or delay, nor to emphasise inner voices or give prominence to small gestures. The result is not mannered; rather, the melodies unfold soulfully, complemented by some lovely interchanges with the orchestra . . . Pappano is alert to every subtle rubato and relishes the music's constant shifts of gear . . . Even the most robust passagework is buoyant, never heavy or swaggering. Pappano takes care to ensure that the imitative interchanges within the orchestral texture are clearly voiced, and the complex syncopations and displaced accents are rock steady . . . Lisiecki offers "Träumerei" as a palate-cleansing "encore" . . . Characteristic of the whole disc, this miniature blends youthful freedom with mature thought.

His account of the Schumann Concerto in A Minor is exceptionally lyrical and almost quietist . . . insofar as Lisiecki phrases with great sensitivity, his reading is a success . . . Lisiecki approaches the rippling passagework in the short (three minute) elegiac Introduction to the op. 92 "Introduction and Allegro appassionato" with very beautiful playing, matched by the Santa Cecilia Orchestra of Rome that Pappano has lovingly built into a first-rate ensemble . . . [Schumann / Introduktion und Allegro]: Lisiecki and Pappano give their all; this is the most passionately played piece on the program. Their energy and exuberance are more winning than the music itself. As a solo encore we get "Traümerei", and although it's endlessly played, here is a reading to convince any listener that this young Canadian phenomenon has a refined, intuitive musical gift. His phrasing is at once innocent, effortless, limpid, and moving. The yellow label has an unmatched track record in picking pianists with great promise, and Lisiecki is no exception.